L'Œil de l'INA: Welcome with Guy Béart, talk-show pioneer

Disappeared last week, Raoul Sangla was, alternately with Rémy Grumbach, the director of a program which is at the origin of many others:

.

Between 1966 and 1978, Guy Béart produced and animated 70 issues of a meeting that he wanted "

", that is to say in his image.

To read also: The Eye of the INA:

, the ancestor of

The principle is then as simple as it is innovative.

He invites on the same stage personalities from very different universes for broken, moving or joyful conversations. Black and white images illustrate colorful remarks, particularly revealing because they are spontaneous.

Indeed, unlike most talk shows, nothing is prepared very in advance: Béart launches a theme, a subject - often visionary, gives the floor to one or the other of the speakers. , then let the cameras run.

After recording for several hours, he locks himself in a booth and devotes days, sometimes nights, to particularly meticulous editing.

Read also: Guy Béart, a great among the great

The credits of this series are prestigious, even unique in the history of the small screen.

Among those who participated in "

" are Raymond Devos, Frédéric Dard, Duke Ellington, Félix Leclerc, Charles Aznavour, Simon and Garfunkel, Georges Chakiris, Yves Montand, Michèle Morgan, Roberto Rossellini, Melina Mercouri, Michel Simon, Louis de Funès , Jacques Anquetil, Emmanuel d'Astier de la Vigerie, but also Father Marc Oraison and Rabbi Josy Eisenberg.

All of them are there for fun, without the slightest ulterior motive for promotion.

It seemed to them impossible to answer in the negative to the invitation of their friend Guy Béart.

Evenings with Moustaki, Brassens, Charlebois ...

There is also, in this meeting, a side "

", through refrains interpreted by Georges Moustaki, Georges Brassens, Robert Charlebois and many others. There is also the inescapable moment when it is Guy Béart's turn to push the note. He grabs his guitar, begins a verse and lets his guests sing together, the continuation of

,

or

.

In 1981, at the end of two specials, entitled

and

, Béart decides to put an end to the adventure, to devote himself to writing new songs and performing. Since then, several generations of producers and animators have been largely inspired by this principle. Sometimes without knowing it.

For a long time, Béart kept all of these treasures in his house in Garches, and refused any further distribution. Emmanuelle and Eve, her daughters, as well as Frédéric Chaudier, her son-in-law, put an end to this ban. This is how you will be able to discover, or rediscover on Madelen, these images of a free and carefree era, where the gravity of certain events and the censorship of the ORTF did not prevent free spirits from sometimes taking positions. disturbing, even shocking. Béart never cut them during editing, by virtue of

.

And not just the ones he sang.

When Guy Béart received Georges Brassens in